Cons Truc Ting The Modern Movement: An Architectural Avant-Garde?

I have attempted
to establish,
both by argument
and by objective evidence,
that in spite of the
seeming confusion
there is nevertheless
a true, if hidden, unity,
a secret synthesis,
in our present civilization.
Sigfried Giedion, 1941
Constructing the Modern Movement

An Architectural Avant-Garde?
2
At one moment at least in recent architectural history an attempt was made to come
up with a consistent but comprehensive response to the challenge of modernity. The
modern movement saw itself embodying a concept of architecture that constituted
a legitimate answer to the experience of modernity and to the problems and possi-
bilities resulting from the process of modernization. In its initial phase it had strong
ties to avant-garde movements such as futurism and constructivism. It shared their
opposition to tradition and to the false claims of nineteenth-century bourgeois cul-
ture. One should wonder, however, how far this alliance goes and whether the basic
conceptions about the new architecture do line up with the position of the avant-
garde in art and literature.
The phenomenon of the artistic avant-garde is historically linked to the rise of
kitsch.1 Both avant-garde and kitsch can be seen as reactions to the experience of
fissure that is typical of modernity. The accelerated changes in traditional values and
2
living conditions that are brought about by modernity lead individuals to experience

a split between their inner world and the behavior patterns required of them by so-
ciety. Modern individuals experience themselves as “rootless”: they are not in har-
mony with themselves and they lack the self-evident frame of reference of norms
and forms that one has in a society where tradition prevails. That at least is the diag-
nosis shared by a whole range of intellectuals writing on modernity.
At the beginning of the twentieth century it was clearly stated, by Adolf Loos
among others, that it was the task of intellectuals and artists to face this fissure and
to look for a new basis of culture, because culture could no longer be established on
a self-evident continuation of tradition.2 The space left vacant by the decline of tradi-
tion was laid claim to by the avant-garde that regarded itself as “the only living cul-
ture we now have.”3 As against the pseudo-values of kitsch, the avant-garde posited
the ideals of purity and authenticity. Kitsch, they argued, is pleasant; it focuses on
easy entertainment; it is mechanical, academic, and cliché-ridden. Because of this it
glosses over the effects of the split character of modern life: kitsch maintains an il-
lusion of wholeness by which individuals can painlessly forget their inner conflicts.
The avant-garde, on the other hand, refuses to deny these conflicts by ignoring the
fissures and ruptures that do exist—rather it combats them openly. The strategy of
the avant-garde thus consisted of a direct attack: perceiving that outer forms no
longer correspond to inner feelings, the avant-garde chooses to destroy these forms
in order to expose their hollowness. Therefore, it is constantly engaged in an icono-
clastic struggle. Marinetti’s appeal, “Let us kill the moonlight!” can serve as a model
for the logic of negation that the avant-garde advocates: all norms, forms, and con-
ventions have to be broken; everything that is stable must be rejected, every value
negated.
In doing so the avant-garde radicalizes the basic principle of modernity—the
urge toward continual change and development, the rejection of the old and the long-
ing for what is new. In its historical manifestations—futurism, constructivism,
dadaism, surrealism, and kindred movements—it represents a “spearhead” of aes-
thetic modernism, which in itself can be said to have a broader basis (not every mod-
ernist writer or artist belongs unquestionably to the avant-garde).4 Renato Poggioli
characterized the avant-garde by four moments: activism, antagonism, nihilism, and
agonism.5 The activist moment meant adventure and dynamism, an urge to action
not necessarily linked to a positive goal. The antagonistic character of the avant-
garde refers to its combativeness; the avant-garde is always complaining, it wages a
continuous struggle—against tradition, against the public, and against the establish-
ment. This antagonism goes hand in hand with an anarchistic aversion to all rules and
norms, a revulsion against every institutionalized system. Activism and antagonism
are pursued in a way that is so absolute that an avant-garde movement finally over-
takes itself in a nihilistic quest, in an uninterrupted search for purity, ending up by dis-
solving into nothing. The avant-garde is indeed inclined to sacrifice itself on the altar
of cultural advance—if the price of obtaining mastery over the future is one’s own
destruction, it is fully prepared to pay it. It is in this masochism that what Poggioli
calls the agonistic phase lies: it wallows pathetically in morbid pleasure at the
prospect of its own downfall, in the conviction that it is there that it will find its
supreme fulfillment. In so doing it also complies with the military metaphor implicit
in its name: it is the fate of the avant-garde to be slaughtered so that others will have
the opportunity to build after them.
From this description the avant-garde emerges as the embodiment par excel-
lence of a transitory concept of modernity. It comprises the most radical expression
of a “culture of crisis.” In Calinescu’s words, “Aesthetically the avant-garde attitude
implies the bluntest rejection of such traditional ideas as those of order, intelligibility,
and even success . . . art is supposed to become an experience—deliberately con-
ducted—of failure and crisis. If crisis is not there, it must be created.”6 According to
Peter Bürger, however, the intense energies of the avant-garde did have a program-
matic intention. Bürger, whose interpretation is based mainly on an analysis of
dadaism and surrealism, argues that the avant-garde was concerned to abolish the
autonomy of art as an institution.7 The negative logic of the avant-garde has in his
view a clearly defined aim: to put an end to art as something separate from everyday
life, as an autonomous domain that has no real impact on the social system. The
avant-gardists aimed to achieve the “sublation” of art in practical life: “The avant-
gardists proposed the sublation of art—sublation in the Hegelian sense of the term:
art was not to be simply destroyed, but transferred to the praxis of life where it would
be preserved, albeit in a changed form. . . . What distinguishes them . . . is the at-
tempt to organize a new life praxis from a basis in art.”8 The avant-garde, then, does
not so much have in mind the integration of art with the current praxis of life, with
bourgeois society and its rational plans. It aims rather for a new life praxis, a praxis
that is based on art and that constitutes an alternative for the existing order.
The issues and themes around which the modern movement in architecture
crystallized are related to the avant-garde logic of destruction and construction. Here
too what was involved first of all was a rejection of the bourgeois culture of philistin-
ism that used pretentious ornament and kitsch and which took the form of eclecti-
cism. In its stead the desire for purity and authenticity was given precedence. All
ornamentation was regarded as unacceptable; instead, authenticity was required in
the use of materials, and it was thought that a constructional logic should be clearly
visible in the formal idiom.9 In the twenties these themes also acquired a distinct po-
litical dimension: the New Building10 became associated with the desire for a more
socially balanced and egalitarian form of society in which the ideals of equal rights
and emancipation would be realized.
The architectural vanguard nevertheless did not become as uncompromising
and as radical as its counterparts in art and literature. Most architects never re-
nounced the principle of rationality, even if it stood for a bourgeois value. As Michael
Müller has pointed out, the protagonists of the new architecture were not in principle
28
29
opposed to every rational ordering of things. On the contrary, they argued for a more
2
thoroughgoing rationalization that combated the irrational remnants of the tradition.11

It would be a conceptual misunderstanding, therefore, to identify the modern
movement as the architectural avant-garde of the twenties and thirties. Although the
movement’s most heroic phase nearly coincided with constructivism and dadaism,
and notwithstanding the fact that there existed historically well-documented rela-
tions between artists and architects, modern architecture showed in most of its
manifestations a face which was clearly distinct from the radicality and destructive-
ness of the artistic avant-garde. It is nevertheless productive to confront the concept
of the avant-garde with the ideas that were structuring the discourse of the modern
movement. For the movement was hardly a unified whole, but rather consisted of
widely differing trends and tendencies.12 Some of these were clearly much closer to
genuine avant-garde sensibilities than others. That was, for instance, the case for the
left-wing tendency of which Hannes Meyer was an exponent.13 Avant-gardistic im-
pulses which aimed at the “sublation” of architecture can also be said to have played
a decisive role in the movement’s initial phase. In later developments, however, this
moment of “sublation” was gradually neutralized and emasculated. The avant-garde
aspirations from the beginnings, which were influenced by a transitory concept of
modernity, became reforged into a fairly univocal program in which the need for a
permanent redefinition of one’s own aims no longer played a crucial role. A sympto-
matic manifestation of this evolution can be detected in the work of Sigfried Giedion.
Sigfried Giedion: A Programmatic View of Modernity

Sigfried Giedion (1888–1968) was first confronted with contemporary architecture at
the age of thirty-five, after an initial training as an engineer followed by a doctorate in
art history.14 He himself said that his fascination was aroused by a visit to the
Bauhauswoche in 1923 and by his encounter with Le Corbusier in 1925.15 From that
moment on he devoted all his energies to the defense and propagation of these new
ideas. In his articles and books he committed himself uncompromisingly to the cause
of modern architecture. He often did this explicitly in his capacity as a historian: his
line of argument took the form of a historical writing that covered developments up
to and including his own time. Criticism of Giedion’s work has mainly been leveled at
this “operative” aspect of his work as a historian.16 His outlook is based on the as-
sumption that a single vast evolutionary pattern underlies the history of architecture
and that this evolution develops more or less in a linear fashion, culminating in
twentieth-century modern architecture, which is presented by Giedion as “a new
tradition.”
This linear view of history and the programmatic and pastoral concept of
modernity that goes with it is particularly conspicuous in his major work, Space, Time
and Architecture. The two books on modern architecture that he wrote prior to this—
Bauen in Frankreich, Bauen in Eisen, Bauen in Eisenbeton and Befreites Wohnen—
are less univocal and betray ideas and notions that were clearly colored by transitory
experiences of modernity.
New Experiences and a New Outlook

Bauen in Frankreich draws a picture of the development of French architecture in the
nineteenth and twentieth centuries with particular reference to the influence of new
materials and construction technology. Giedion defends the thesis that the most im-
portant contributions of the nineteenth century lay in the domain of iron and glass
structures and in working with concrete. These technologies formed as it were the
“subconscious” of architecture, which first became manifest in the twentieth cen-
tury due to the New Building:
What remains unfaded of the architecture [of the last century] is those
rare instances when construction breaks through. Construction based
entirely on provisional purposes, service and change is the only part of
building that shows an unerringly consistent development. Construc-
tion in the nineteenth century plays the role of the subconscious. Out-
wardly, construction still boasts the old pathos; underneath, concealed
behind facades, the basis of our present existence is taking shape.17
The key expression that Giedion used to describe the qualities of the new ar-
chitecture is Durchdringung (interpenetration). The almost archetypal spatial experi-
ence that gave rise to this expression was the result of the sensations aroused by
nineteenth-century girder constructions such as the Eiffel Tower18 and the Pont
Transbordeur in Marseilles, a very specific kind of bridge where a moving platform is
making the connection between the two landings (figures 3 and 4).19 Giedion’s fasci-
nation with these structures arose from the sensation of motion and from the expe-
rience of an intermingling of spaces. The description of the Eiffel Tower, for instance,
emphasizes the unique effect of a “rotating” space that is produced by climbing the
spiral flights of steps (figure 5). Exterior and interior spaces are as a result constantly
related to each other, to such an extent that in the end one cannot make any clear
distinction between the two. This new kind of spatial experience is fundamental in
the New Building:
In the air-flooded stairs of the Eiffel Tower, better yet, in the steel limbs
of a pont transbordeur, we confront the basic aesthetic experience of
today’s building: through the delicate iron net suspended in midair
stream things, ships, sea, houses, masts, landscape and harbor. They
loose their delimited form: as one descends, they circle into each other
and intermingle simultaneously.20
30
31
2
Pont Transbordeur (1905) and
harbor of Marseilles.

(From Sigfried Giedion,
Bauen in Frankreich, fig. 1.)
Giedion comments:
“A mobile ferry suspended by
cables from the footbridge high
above the water connects traffic
on the two sides of the harbor.
This structure is not to be taken
as a ‘machine.’ It cannot be
excluded from the urban image,
whose fantastic crowning it
denotes. But its interplay with
the city is neither ‘spatial’ nor
‘plastic.’ It engenders floating
relations and interpenetrations.
The boundaries of architecture
are blurred.”
3
Pont Transbordeur, Marseilles. Eiffel Tower (1889),
(From Sigfried Giedion, interior of pier.
Bauen in Frankreich, fig. 61.) (From Sigfried Giedion,
Giedion comments:
“Instead of a massive tower, an
open framework condensed into
minimal dimensions. The
landscape enters through
continuously changing snippets.”
4 5
Giedion’s fascination was nothing new or even out of the ordinary. The glass
and iron structures of the nineteenth century—exhibition halls, railway stations, ar-
cades, conservatories—provoked strong reactions right from the start. They were fa-
vorite subjects for modernist painters, from Manet to Delaunay (figure 6), and they
aroused fierce polemical debate, the Crystal Palace in London being a good ex-
ample.21 Neither was it the first time that the importance of these constructions de-
signed by engineers had been acknowledged in an architectural discourse where
they were seen as the prelude to a future architecture. In the work of Scheerbart and
in Sant’Elia’s and Marinetti’s futurist manifesto, however, these statements sounded
like echoes of distant unattainable visionary dreams, while Giedion succeeded in
combining the lyrical character of his homage with an extremely convincing, sober
analysis of very real and realizable buildings and spaces.
Giedion treated these fascinating spatial experiences in a very specific way,
transforming them into a description of the new architecture that at the same time
32
33
served as a guideline for future developments. In fact, he uses his descriptions of the
2
new experiences of space to constitute the foundation of the new architecture,

which he recognizes in the idea of Durchdringung (figure 7). The term is used in dif-
ferent constellations. First and foremost it is used as a description of various spatial
configurations: the penetrating of a fairly well-defined volume by an element of much
smaller proportions, as for instance with Mart Stam’s design for the Rokin in Am-
sterdam in 1926;22 the intermingling of spaces on various levels through the partial
absence of floors, or of interior and exterior space through the use of transparent
walls, as in a number of Le Corbusier’s houses (figures 8 and 9);23 the interpenetra-
tion of equivalent volumes so that the building is composed of various juxtaposed
volumes that are interlocked in such a way that the borders between one and the
other are no longer clearly defined, as in Gropius’s Bauhaus.
For Giedion, Durchdringung thus refers to an essential characteristic of the
new architecture: its capacity to interrelate different aspects of space with one an-
other.24 Giedion was not the only one to attach such an importance to the idea of
Durchdringung. László Moholy-Nagy, who was the book designer of Bauen in
Frankreich, also took the idea of spatial interpenetration to be the hallmark of the fu-
ture architecture. In his own book from 1929, Von Material bis Architektur, which is
Robert Delaunay, Tour Eiffel, 1909–1910.

(Emanuel Hoffmann-Stiftung, Basel;
photo: Oeffentliche Kunstsammlung
Basel, Martin Bühler.)
6
Two pages from Bauen in
Frankreich showing how Giedion
links the new experiences of
space, which he designates
with the term Durchdringung,
with the characteristics of the
New Building, here illustrated
by Mart Stam’s project for the
Amsterdam Rokin from 1926.
Le Corbusier, Villa on the Sea,

1921.
Giedion comments:
“Without having found an
architectural form, these designs
already contain the vertical fusing
of space, broad openings, and
the greatest possible avoidance
of partition walls made possible
by the ferroconcrete skeleton.”
Le Corbusier, Cook House,

1926–1927.
Giedion comments:
“View from the study to large
room, stairs, and roof terrace.
Exterior space (roof terrace)
and the various interpenetrating
levels of the interior space are
blended together.”
34
35
organized around a sequence of some two hundred figures, Moholy-Nagy inserts a
2
telling image entitled “architecture” as the culminating one (figure 10). His caption

reads: “From two overlapping photographs (negatives) the illusion comes forth of a
spatial interpenetration, which only the next generation might be able to experience
in reality—as glass architecture.”25
The most striking feature in Giedion’s discourse on this topic is that this spa-
tial Durchdringung leads to a symbiosis with all kinds of metaphorical meanings as-
sociated with the word.26 The result is that a mutual relation is created between the
new concept of space and a social reality that is also characterized by interpenetra-
tion in many areas. Due to Giedion’s rhetorical strategy, it becomes clear that Durch-
dringung stands for a weakening of hierarchical models on all levels—social as well
as architectural. Here is a key passage in which the multilayered character of the con-
cept of Durchdringung can clearly be recognized:
It seems doubtful whether the limited concept of “architecture” will in-

deed endure.
We can hardly answer the question: What belongs to architec-
ture? Where does it begin, where does it end?
Fields overlap [Die Gebiete durchdringen sich]: walls no longer
rigidly define streets. The street has been transformed into a stream of
movement. Rail lines and trains, together with the railroad station, form
a single whole.27
Here Giedion links the question of the autonomy of architecture as a discipline with
the observation that spatial realities such as streets and stations no longer represent
sharply defined entities; our experience of them is essentially defined by patterns of
movement and interpenetrating elements. He suggests implicitly that architecture
no longer has anything to do with objects: if it is to survive at all it must become part
of a broader domain in which it is not so much objects as spatial relations and ratios
that are of central importance. The title of this paragraph consequentially should have
been “Architecture?” but the question mark was left out by the publisher of the
book—much to Giedion’s annoyance.28
A similar train of thought underlies the slogan “Konstruktion wird Gestaltung”
(construction becomes design) that Giedion originally had in mind as the title for his
book.29 This expression perfectly sums up his basic idea: architecture is no longer
concerned with representative facades and monumental volumes; instead, its aim is
to design new relationships based on a structural logic.
The sensitivity to the transitory aspect of modernity that we can see in Bauen
in Frankreich is still more pronounced in Giedion’s next publication. Befreites
Wohnen (1929) is a small book that gives a picture of the aims and achievements of
the New Building with the aid of photos accompanied by a commentary. Whereas
the first book is at some points hesitant to embrace full-heartedly the new spatial
“Architecture” according to sensibility,30 the second takes it up in
László Moholy-Nagy.
a more radical fashion. Here Giedion
(Concluding illustration in
opposes in an explicit manner tradi-
Moholy-Nagy’s Von Material
zu Architektur; photo: tional ideas such as attributing to the
Jan Kamman/Schiedam.) house an eternal value. Instead he ar-
gues, “The house is a value of use. It
is to be written off and amortized
within a measurable time.”31 This is
feasible, according to Giedion, when
building production is organized on
an industrial basis, so that building
costs and rents are reduced. Houses
should not look like fortresses; rather,
they should allow for a life that re-
quires plenty of light and wants
everything to be spacious and flex-
ible. Houses should be open; they
should reflect the contemporary
mentality that perceives all aspects
of life as interpenetrating: “Today we
10 need a house, that corresponds in
its entire structure to our bodily feel-
ing as it is influenced and liberated
through sports, gymnastics, and a
sensuous way of life: light, transparent, movable. Consequentially, this open house
also signifies a reflection of the contemporary mental condition: there are no longer
separate affairs, all domains interpenetrate.”32 Giedion explicitly refers in this text to
Sant’Elia, whose idea it was that a house should only last one generation. In the man-
ifesto that Sant’Elia wrote with Marinetti in 1914 it is indeed stated:
We have lost the sense of the monumental, of the heavy, of the static;
we have enriched our sensibility by a taste of the light, the practical, the
ephemeral and the swift. . . . An architecture so conceived cannot give
birth to any three-dimensional or linear habit, because the fundamen-
tal characteristics of Futurist architecture will be obsolescence and tran-
sience. Houses will last less long than we. Each generation will have to
build its own city.33
Nowhere else in Giedion’s work is this concept of deliberate transitoriness so

emphatically stated as in Befreites Wohnen, a book that in terms of its rhetorical
structure also has the character of a manifesto. Openness, lightness, and flexibility
are associated here with the other slogan words of the New Building: rationality,
36
37
functionality, industry, experiment, Existenzminimum. All this, states Giedion, leads
2
to liberation, not only from the weight of the tradition, but also from too high rents.

He even adds that women too will take advantage of the new outlook on dwelling,
since their household chores will be reduced to a minimum. Thus they will be cap-
able of freeing themselves from their narrow focus on house and family.
Together these two early books to a certain extent take up the challenge of an
avant-garde position in architecture. Based on an antagonism against traditional no-
tions and institutions in architecture, they display an attitude which celebrates the
new and is fascinated by the idea of transitoriness. Giedion even lives up here to the
radicality which such ideas call for, in that he explicitly questions the nature of archi-
tecture. Most interesting in this respect is the thought that architecture might no
longer limit itself to the design of representative buildings but should develop instead
into to a more comprehensive discipline that is focusing upon the whole environ-
ment. Herewith Giedion formulates as a goal for architecture its breaking out of the
limits imposed upon it by tradition and by its functioning as an institution. What could
be the result of such a strategy is hinted at in a caption for some illustrations of an in-
dustrial landscape in Bauen in Frankreich (figures 11 and 12). The landscape consists
Industrial landscape.
For Giedion this landscape
with its different levels of
transportation prefigures the
future development of cities,
where the interpenetration of
different domains will be evident.
11
Petroleum tank, concrete bridge,

street, trestle (Marseilles).
A detail from the same industrial
landscape.
12
of a montage-like superposition of heterogeneous elements (a petrol tank, a railway
bridge, a factory with smoking chimneys, a shed, electricity cables). “The various
traffic levels, the juxtaposition of objects determined only by necessity offer—so to
speak unconsciously and as raw material—possibilities for how our cities may later
be designed openly without the constraints of preestablished levels.”34 These illus-
trations along with Giedion’s commentary contain for me the most telling moment in
the book: the point at which there is a clear indication that architecture may well have
to merge with vulgar reality and accept juxtaposition and montage as design princi-
ples which allow for this merging. In this passage one can clearly see that the idea of
“montage”—a key concept for the avant-garde, according to Bürger35—is at work,
even if the term as such is not used explicitly.
Space, Time and Architecture: The Canon of Modern Architecture

The foreword to the first edition of Space, Time and Architecture (1941) states that
this book is intended “for those who are alarmed by the present state of our culture
and anxious to find a way out of the apparent chaos of its contradictory tendencies.”
These contradictory tendencies are a product of the gap between thought and feel-
ing, which in turn is the result of the enormous technological and industrial develop-
ments of the nineteenth century. Here Giedion is giving the familiar diagnosis
pointing out a discrepancy between the advance of humanity in the realm of thought
and in the realm of feeling. In his view, however, this split can be overcome: “In spite
of the seeming confusion there is nevertheless a true, if hidden, unity, a secret syn-
thesis, in our present civilization.”36 Giedion sees the possibility of a synthesis in the
development of a new awareness of time and space. According to him, a new sense
of space and time prevails in contemporary architecture and painting just as much as
in science. The new approach no longer treats them as separate dimensions but as
related phenomena.37 Giedion quotes the mathematician Hermann Minkowski, who
began the introduction of his book Space and Time by stating: “Henceforth space by
itself and time by itself, are doomed to fade away into mere shadows, and only a kind
of union of the two will preserve an independent reality.” According to Giedion, one
can talk here of a remarkable parallel with the development of painting: it was around
the same time that cubism and futurism in their quest for new means of expression
created what he calls “the artistic equivalent of space-time.”38
Giedion defends the hypothesis that one can identify parallel developments in
different disciplines by appealing to the Zeitgeist: “It seems unnatural for a theory in
mathematical physics to meet with an equivalent in the arts. But this is to forget that
the two are formulated by men living in the same period, exposed to the same gen-
eral influences, and moved by similar impulses.”39 In the key chapter on “Space-Time
in Art, Architecture and Construction,” the supposed affinity between these differ-
ent developments is demonstrated by a strategic use of illustrations. For instance,
the Bauhaus in Dessau by Walter Gropius (figure 14) is illustrated next to L’Arlé-
38
39
Picasso, L’Arlésienne, Walter Gropius, Bauhaus Dessau,
2
1911–1912. 1926.

(From Sigfried Giedion, Space, (From Sigfried Giedion, Space,
Time and Architecture, fig. 298.) Time and Architecture, fig. 299;
photo: Bauhaus-Archiv, Berlin, by
Lucia Moholy.)
13 14
sienne by Picasso (figure 13),40 while in the commentary constant reference is made
to the qualities of transparency and simultaneity that are peculiar to both these
works. (In the case of the Bauhaus, what is involved is the creation of a simultaneity
between interior and exterior spaces and the transparency of the walls; with the
painting L’Arlésienne it is a matter of the transparency of overlapping surfaces and
the simultaneous depicting of different facets of the same object.)
The central thesis about the importance of the space-time concept in the new
architecture is developed and tested against the work of five masters of modern ar-
chitecture: Walter Gropius, Le Corbusier, Mies van der Rohe, Alvar Aalto, and Jørn
Utzon.41 Giedion regards the new concept of space as the most typical feature of the
new architecture. It was the product of a combination of an advance in the use of ma-
terials and construction technologies on the one hand and the artistic discoveries of
cubism, futurism, and similar movements on the other. These artistic developments
led to a new vision of space that was not based on perspective, that emphasized si-
multaneity (the depiction of an object from different viewpoints at the same time),
and that also stressed dynamics, focusing on the movement of objects and at-
tempting to depict it in painting.
The interplay between these factors—the constructional and the artistic—
opened the way for a new awareness of space in modern architecture. Buildings
were no longer visually rooted in the ground but seemed to float above it while their
different volumes interpenetrate each other instead of simply being juxtaposed.
These features together with a plentiful use of glass—a material that according to
the author was primarily used because of its dematerializing qualities and which had
the effect of making interior and exterior space appear to interpenetrate—led to an
“unprecedented many-sidedness,” creating the sense of a movement in space that
seems, if but for an instant, to be frozen.42 Giedion had identified this frozen move-
ment earlier in the stairwell of Gropius’s factory building at the Werkbund exhibition
in Cologne in 1914, but it was the Bauhaus in Dessau, also by Gropius and dating
from 1926, that he discussed as the example par excellence of this new concept of
space.
The new concept of space in modern architecture therefore proclaims and af-
firms time as a fourth dimension in a way that was quite unprecedented. The expe-
rience suggested by this architecture has a space-time character: it is not determined
by the static qualities of a fixed space but by an uninterrupted play of simultaneous
experiences of varying (spatial) character—experiences that, traditionally speaking,
could only be perceived one after the other. The typical features of modern architec-
ture, then, are simultaneity, dynamism, transparency, and many-sidedness; it is a
play of interpenetration and a suggestive flexibility.
In his conclusion Giedion emphasizes the importance of organic and irrational
elements in architecture, which in his view run the risk of being suppressed as a re-
sult of too great an emphasis on rationality. Architecture is faced with the task of
achieving a balance between the rational and geometric on the one hand and the or-
ganic and irrational on the other—between the domain of thought and that of feel-
ing. “The outstanding task of our period [is] to humanize—that is to reabsorb
emotionally—what has been created by the spirit. All talk about organizing and plan-
ning is in vain unless we first create again the whole man, unfractured in his meth-
ods of thinking and feeling.”43 In Space, Time and Architecture Giedion thus built up
a case for the thesis that modern architecture, as a legitimate heir to the most rele-
vant architectural trends of the past, is capable of contributing to bridging the gap be-
tween thought and feeling because it relies upon the concept of space-time, just as
the sciences and the arts do. The whole aim of Space, Time and Architecture was
thus to canonize modern architecture as a “new tradition.”
Space, Time and Architecture is not a pioneering text in the strict sense of the
word: the book does not break new ground or announce a completely new paradigm.
A number of elements of this paradigm had been around for some time already: the
moral appeal (Morris, Loos); the concept of space-time and its application in archi-
tecture (van Doesburg, Lissitzky); the relating of new materials and construction
40
41
technologies on the one hand with architectural design on the other (Le Corbusier);
2
the fact that architecture and city planning influence each other and are mutually de-

pendent (CIAM texts); the concern with the organic and the functional (Moholy-Nagy,
the Bauhaus). It was Giedion, however, who forged these various elements of the
modern movement into a closely-knit whole and who gave it a historical legitimiza-
tion, tracing its roots back to the tradition of baroque architecture and to nineteenth-
century technological developments.
But it is not only on this intrinsic level that Space, Time and Architecture shows
all the signs of a canonization; extrinsically too, it undertook a similar role in stimu-
lating the process of the social acceptance of modern architecture. Written in Amer-
ica between 1938 and 1940, it has undergone countless reprints and revised editions
and has functioned as obligatory reading for generations of students in architecture.
It thus marked the end of a period of searching and questioning, a period of heated
debates and experiments often in conflicting directions, and the beginning of a new
period in which the direction to take was supposed to be clearly mapped out.
From Avant-Garde to Canonization

This development from avant-garde to established order can also be detected in the
internal evolution of Giedion’s writings. At first sight there would appear to be little
more than a shift in terminology (space-time instead of Durchdringung). Closer
analysis, however, shows that there is more at stake here. The development takes
place on two levels. First, there is a shift in Giedion’s notions about the social role of
architecture. Secondly, a difference in tone can be discerned between Bauen in
Frankreich on the one hand and Space, Time and Architecture on the other. These
texts belong to different genres.
The first difference concerns the way that the relation between architecture
and society is understood. Before 1930 the new architecture was deliberately pre-
sented as being closely bound up with social developments or even as anticipating
them. This is implied among other things in the metaphorical use of the term Durch-
dringung, with its connotations such as social mobility, emancipation, and liberation.
In Bauen in Frankreich Giedion states explicitly that it is no longer the upper classes
that advocate and make possible the building of progressive architecture but other,
less privileged layers of the population.44 Befreites Wohnen contains a detailed plea
for the Existenzminimum, calling it the most important task for the New Building; it
treats it as the point of departure for the development of a new culture of everyday
life. In both publications, therefore, the new architecture is bound up with processes
of social emancipation. In Space, Time and Architecture, on the other hand, this con-
notation is no longer crucial: the social implications that are inherent in Durch-
dringung are not transferred to the concept of space-time. Social and political
connotations have been purged along with all references to social experiments and
to the revolutionizing aims of the new architecture. The question “whether ‘archi-
tecture’ can have any future” is no longer raised. Nor are the liberatory character of
modern architecture and its social dimension in any way highlighted. Explicit refer-
ences to a sociopolitical purpose are no longer present. Instead of Durchdringung, an
expression with a range of connotations, the notion of space-time appears. This con-
cept does not have any obvious social connotations; instead it suggests that devel-
opments within architecture correspond to those on a “deeper” level of reality—the
“secret synthesis” that lies hidden behind chaotic appearances. Behind the two ap-
parently parallel terms, Durchdringung and space-time, two different notions about
the scope of architecture and its social role lie concealed.
The second shift has to do with the whole tenor of the text, its tone. In con-
trast with his earlier books that represented a genuine inquiry, accompanied by
doubts and a sense of wonder, Space, Time and Architecture sounds like the incan-
tatory discourse of a prophet who does not doubt that he knows the truth. Due to
this self-assurance, a programmatic concept of modernity ends up pervading the
whole book. This programmatic concept has less to do with a specific political idea
than with the conviction that modern architecture contains the potential for building
a new world, one in which the evils of the present time will be vanquished and where
the challenge of the future will be taken up. In Bauen in Frankreich and in Befreites
Wohnen an attempt was made to formulate a transitory vision that saw the new ar-
chitecture as a constant quest to give expression to change and evanescence. This
endeavor is much less important in Space, Time and Architecture. Giedion still refers
here to a transitory experience of dynamics and movement, but it is no longer deci-
sive as a concept for his view of architecture. His description of the rise of the new
architecture as “the growth of a new tradition” puts the emphasis on the program-
matic aspect: he conceives of modern architecture here not so much as a paradoxi-
cal “tradition of the new” but much rather as the unqualified inauguration of a “new
tradition.”45 This “new tradition” constitutes the most authentic expression of the
underlying unity that he discerned in the apparent chaos of the time, and he there-
fore also combated every tendency toward superficiality and all attempts to reduce
modern architecture to a fashionable trend.46 Instead he stressed the rootedness of
architecture in the past and its intimate involvement with the deepest essence of his
own time. These elements form the crux of his argument that space-time architec-
ture is the only viable contemporary form of architecture.
This double shift maps out a path by which the architecture of the modern
movement gradually becomes disconnected from the logic of the avant-garde, which
was first of all one of negation and destruction. In Space, Time and Architecture and
in Giedion’s later work, one can still see minor traces of an avant-garde concept. The
diagnosis of the “fissure between thinking and feeling” and the rejection of the
kitsch culture of the “prevailing taste” are arguments that Giedion had in common
with the pioneers of the avant-garde.47 He has, however, abandoned one of the more
fundamental concept of the artistic avant-garde—that of transitoriness.48
42
43
Giedion’s arguments in Space, Time and Architecture are not only based on a
2
more programmatic intent, they show pastoral tendencies as well. He specifically

bases his case on the notion that the strength of the new architecture lay in its po-
tential for combating the worst evil of the age—the fissure that had come about be-
tween thought and feeling; it would succeed in doing so because it displays a
sensitivity to both artistic and scientific aspects, giving form to a new concept of
space that developed in parallel fashion in both domains.49 In so doing it would con-
tribute to a process of reconciliation and synthesis.
In his early work Giedion already advocated the endeavor to bring art and life
together to form a new reality. In Bauen in Frankreich he stated:
We are being driven into an indivisible life process. We see life more
and more as a moving yet indivisible whole. The boundaries of individ-
ual fields blur. . . . Fields permeate and fertilize each other as they
overlap. . . . We value these fields not as hierarchically but as equally
justified emanations of the highest impulse: LIFE! To grasp life as a to-
tality, to allow no divisions, is among the most important concerns of
the age.50
In Space, Time and Architecture this rhetoric about bringing art and life together is
less explicit. But here too he argues that “the outstanding task of our period [is] to
humanize—that is to reabsorb emotionally—what has been created by the spirit.”51
The aim is integration—to make life complete once again and to rely on art and ar-
chitecture to achieve this. Once again, however, a certain shift in position can be de-
tected. In the quotation from 1928 Giedion comes very close to the avant-garde idea
that social life should be organized on the basis of art. In 1941, on the other hand, the
role of art and architecture is limited to healing the wounds inflicted upon the indi-
vidual by social developments. He no longer claims that developments in architec-
ture have any impact on society as a whole. If one calls “avant-garde” a position that
is characterized by a logic of negation and a critical attitude vis-à-vis social conditions,
it is clear that the architecture Giedion is advocating in Space, Time and Architecture
cannot be labeled as such any more.
Das Neue Frankfurt: The Search for a Unified Culture

In 1925 Ernst May was appointed Stadtbaurat in his native city of Frankfurt. In prac-
tice this meant that he was head of the department of housing and city planning with
very broad powers to combat the increasingly desperate housing need in Frankfurt.
May and his associates succeeded in building an impressive number of housing units
in the space of only a few years.52 Every eleventh resident in the conurbation of
Frankfurt obtained a new dwelling through this program, in most cases in one of the
large modern-looking Siedlungen (settlements) that May built in a circle around the
city (figure 15). This vast construction program was promoted by the publication of a
monthly magazine called Das Neue Frankfurt that was aimed at an international read-
ership. Not only was architecture in Frankfurt extensively discussed and docu-
mented in its columns; the magazine also covered an extremely wide range of topics
whose common denominator was “modern design.”53 Theater, photography, films,
art and industrial design, and other subjects were all discussed. Particular attention
was paid to the subject of “education,” in keeping with the view that upbringing and
education formed the key to the creation of the new man who would be capable of
understanding and appreciating the new culture that was being developed with so
much enthusiasm.
Like Giedion, Ernst May was one of the most important figures of the early
years of the CIAM. He was one of the founding members who met in La Sarraz in
1928, and he was responsible for the proposal to hold the second congress in Frank-
furt in 1929. On this occasion he prepared a report on the subject of the congress,
“Die Wohnung für das Existenzminimum.” The success achieved in Frankfurt was
one of the most important that the still youthful modern movement could claim to its
credit. Making use of the possibilities created by the social policies of the Weimar
Republic, a housing program was realized that was unrivaled elsewhere in Germany
(with the possible exception of Berlin). The impact of the sheer number of dwellings
Map of present-day Frankfurt

indicating the Siedlungen built
by May and his group. Those
discussed or mentioned in this
chapter are: (1) Westhausen,
(2) Praunheim, (3) Römerstadt,
(18) Riedhof, (22) Hellerhof.
(From Volker Fischer and
Rosemarie Höpfner, eds.,
Ernst May und Das Neue
Frankfurt 1925–1930, p. 105.)
15
44
45
First issue of Das Neue was very considerable; when one
2
Frankfurt, October 1926.
bears in mind that Loos built only a

few villas and that Le Corbusier’s
greatest achievement in the 1920s
was a tiny estate in Pessac consist-
ing of some thirty homes, May’s fif-
teen thousand is an impressive total
in every respect.
Ideas and Intentions

May stated his vision of modernity
and the goals he had in mind in a pro-
grammatic article in the first issue of
Das Neue Frankfurt (figure 16).54 In it
he recalled some major metropolises
of the past that he regarded as ex-
16
amples of “unified complexes of cul-
ture”: Babylon, Thebes, Byzantium,
and others. In his own epoch, how-
ever, this notion of a “unified cul-ture” was nowhere to be found. In the nineteenth
century, culture had evolved into a chaos of tendencies with the result that human-
ity ran the risk of becoming a slave to its own creations in technology and industry.
There was, however, some reason for hope. Paradoxically, the world war produced
a change of direction. People had begun to see through the superficiality of the “wor-
ship of the golden calf,” and this change paved the way for a “deeper attitude toward
life.” In this way the foundations were laid for a new homogeneous and unified cul-
ture, that would compare favorably with any that had come before.
See how all the evidence of present-day design tends toward a single
conclusion! ..... already streams from a hundred and a thousand
springs, brooks and rivulets are coming together which will go to make
up a new culture, a closed culture that will flow forward in a wide bed
like a confident river. Everywhere we come across the endeavor to root
out everything that is feeble, imitative, hypocritical and false. Every-
where we notice the purposeful struggle for a bold new design, for hon-
esty in the use of materials, and for truth.55
To bring about a breakthrough in this new culture, deliberate steps had to be

taken. That was the task May set himself in Frankfurt, and it is in this context that the
magazine Das Neue Frankfurt should be seen:
Human willpower alone will never bring about a new development. De-
liberate measures, however, can smooth the way and accelerate the
tempo. This is the aim of the monthly magazine Das Neue Frankfurt.
The point of departure is the design of the organism of the metropolis,
with particular reference to its economic foundations. But the magazine
will widen its coverage to include every domain that is relevant to the
designing of a new unified metropolitan culture.56
“Modernity” for May thus meant the creation of a new unified metropolitan culture.
A notion like this clearly implies the dominance of a programmatic concept of moder-
nity. Rationality and functionality were the qualities that were given first priority. “Ra-
tionality” in this context should be interpreted in a broad sense: what May and his
associates had in mind was a culture that anticipated a future society, rationally or-
ganized and conflict-free, made up of people with equal rights and common inter-
ests.57 This distant ideal and the concrete housing needs of Frankfurt combined to
form the basic tenets of housing policy in this city.
In this endeavor the architects of Das Neue Frankfurt gave priority to the in-
dustrialization of the construction process and the principles of Taylorism in the use
of space:58 they were apparently convinced that the “rational” character of these
technologies developed in the context of the capitalist system did not conflict with
the “rationality” of the society they had in mind—a society based on equal rights and
homogeneity. The purpose of the Frankfurt experiment fitted perfectly in the scheme
of the optimistic, pastoral ideology of Enlightenment that took the view that
“progress” was the result of an increasing rationality at all levels of life and of soci-
ety. In this scheme of things, the social aspect occupied a prominent place: it was
the deliberate aim of May and his team to ensure that the housing needs of the poor
and the underprivileged were alleviated, as one aspect of the increasing emancipa-
tion of all individuals. For this reason it fits perfectly into what Habermas describes
as “the modern project.” In any case, the aim was to harness the achievements of
avant-garde artists and developments in the field of technology for the actual (archi-
tectural) design of the daily lives of a large portion of the population.
The emancipation May and his associates had in mind was not purely a ma-
terial one; it also implied the enhancement of the culture of everyday life. The aim
was to increase people’s awareness of the positive aspects and new possibilities of
an epoch in which the results of the industrial revolution affected every part of daily
life. The new architecture would have to be consistent with the new conditions of
that life:
The achievements of the twentieth century that surround our everyday

existence have given a completely new form to our lives and have had
a fundamental influence on our way of thinking. For reasons such as
this it is becoming increasingly clear that in its design and construction,
housing too will have to undergo changes similar to those that led from
46
47
the stage coach to the railways, from cars to airships, from the tele-
2
graph to the radio, or from the old craftsman’s workshops to factories—

a change that goes hand in hand with the transformation of the entire
productive and economic life of former times into that of our own
century.59
An openness to everything that is mobile and transitory is another feature of the new
form of everyday life:
Because the outside world of today affects us in the most intense and
disparate ways, our way of life is changing more rapidly than in previ-
ous times. It goes without saying that our surroundings will undergo
corresponding changes. This leads us to layouts, spaces, and buildings
of which every part can be altered, which are flexible, and which can be
combined in different fashions.60
The new culture thus should match the character of the new epoch, which
was seen as a source of new possibilities. The experiences of the First World War—
so it was thought—had convinced everyone of the urgency of bringing technological
and scientific developments under control. The postwar period was seen as an op-
portunity for a new start, offering the chance of establishing a culture that would
guide the process of modernization in a positive direction. Furthermore, it was pre-
cisely those facets of modernity that were viewed negatively in conservative cir-
cles—”lack of style” and lack of Gemütlichkeit (coziness), the rapid pace of life and
the increasing bombardment of impressions and experiences, and the break with tra-
ditional values—that were seen as stimuli for the design of this new culture. Every-
thing new was greeted with enthusiasm—speed and movement (the increasing
impact of trains, cars and airplanes), the beginnings of the democratizing of sport and
leisure activities, the relaxing of social codes coupled with increasing social mobil-
ity.61 All this was seen as the beginning of a process that would lead to a genuinely
humane society of emancipated men and women in which equal rights would go
hand in hand with a high degree of personal freedom.
A certain tendency toward asceticism was unquestionably present in the
“struggle for a bold new design, for honesty in the use of materials, and for truth”
that May announced in the first issue of his magazine. This tendency had to do with
the idea that one could get to the essence of things only by stripping away all excess
and by rejecting everything that was superfluous. A pure and sober architecture of
the utmost simplicity was the correct foundation for a contemporary culture of every-
day life. Truth should be the criterion rather than representation (figure 17). Mart
Stam states this conviction eloquently:
Correct measures are those that conform to our requirements, that ful-
fill these needs without any pretensions, that do not claim to be more
than they are. Correct measures are those that result in a minimum of
ostentation. Everything else is ballast. . . .
The struggle for modern architecture then is a struggle against
pretentiousness, against every excess and for a human scale.62
Behind this approach is the notion that every object should be understood in terms
of its inmost essence. This essence conforms to its function, to what it can be used
for. Beauty exists when people succeed in giving this essence as accurate a form as
possible, without any “excess” or anything that is extraneous or superfluous. It was
this conviction that made the project of housing for the Existenzminimum more than
a purely instrumental answer to the housing situation.63 The architects of the New
Building were not only interested in the program of housing for the underprivileged
classes for extrinsic, social reasons. They also saw it as an opportunity to realize an
ascetic ideal—housing reduced to its essence, pure, minimal, and authentic.
In the course of time, however, a slight shift of emphasis in the issues of Das
Neue Frankfurt became apparent. During the early years virtually no attempt was
made to analyze the economic and social aspects of housing policy in Frankfurt: they
were apparently regarded as self-evident aspects of the struggle to create a new cul-
ture. Gradually, however, these themes began to be treated independently of the cul-
tural context, as autonomous problems. In 1928, for instance, in the special issue
about housing, the necessity of rationality and functionality in housing design was
still defended on the grounds of a general concept of dwelling culture, while in 1929
in the issue on billige Wohnungen (cheap housing), published on the occasion of the
CIAM congress in Frankfurt, much more stress was laid on hygiene and on social and
economic arguments.64 Unquestionably, the economic crisis had forced architecture
to concentrate more on economic necessi-
ties, and this led to a more pronounced con-
Cover of Das Neue Frankfurt, sideration of building costs.65 After 1929,
January 1928. when the consequences of the economic
crisis clearly began to make themselves felt,
public housing was treated primarily as an
economic and financial problem, and ratio-
nality and functionality in design was mainly
thought of in terms of cost-effectiveness.
Even so, functionalism in Das Neue
Frankfurt continued to be seen as part of
a project for emancipation. It was the aim
of May and his associates to provide the
mass of people on the housing lists with
decent accommodation that would free
them from intolerable living conditions.
17
These new homes would allow them to en-
48
49
joy a minimum of modern comforts (figure 18) together with direct contact with na-
2
ture—all at a rent they could afford. The rationalization of the construction process

and the development of housing for the Existenzminimum was subordinate to the
purpose of being of service to as many people as possible with the (inevitably lim-
ited) means that were available. Ernst May:
Let us suppose we put this question to the army of the underprivileged,

who eagerly and impatiently demand decent accommodation. Should
they have to put up with a situation where a small number of them en-
joy sizable dwellings while the great majority are condemned to go on
suffering deprivation for many more years? Shouldn’t they rather be
content with a small home that, despite its limited space, would still
meet the requirements one has the right to expect of a contemporary
dwelling, if this will ensure that the evil of the housing shortage can be
abolished in a short period of time?66
May’s arguments make it clear that a shift had occurred in the policy of Das
Neue Frankfurt. The term Existenzminimum no longer implied dwellings that re-
The famous Frankfurt kitchen,

designed by Grethe Schütte-
Lihotzky in 1926. This kitchen
was built in in most of the
dwelling units built by May and
his group.
(Photo: Institut für
Stadtgeschichte der Stadt
Frankfurt am Main.)
18
duced housing to its essentials; instead what was discussed was a choice between
two evils. It was better to have too-small homes for many people than “good”
homes for the few. This argument is yet another token of the degree to which the
Das Neue Frankfurt project was committed to a genuinely dynamic movement for
emancipation that often tended to violate the purity of ideological positions.
The Dialectics between an Avant-Garde and a City

May and his associates explicitly saw themselves as belonging to the modern move-
ment. This also can be seen in their production: in Frankfurt traditional principles
were broken with, and a whole new course was followed both in terms of architec-
tural design and of the tissue characteristics and morphology of the Siedlungen and
of the city as a whole.
A comparison between two parts of one Siedlung, Hellerhof, may serve to
highlight the contrast between the traditions in public housing that were current at
the beginning of the century and May’s innovative approach (figures 19 and 20). In
the first part we see large detached houses put down in the middle of a plot of
ground. From the outside they look like the homes of well-to-do citizens, with their
pitched roofs and stepped gables, the symmetrically placed windows and doors, and
meander strips in the masonry. On each story are four flats that get their light in part
from the very small courtyard. Two of these dwellings are north-facing.
The dwellings that Mart Stam built next to them hardly a generation later dif-
fer radically from these buildings. Not only are they completely different in their ex-
terior layout—long, whitewashed blocks without any ornament and with large
window openings and balconies—the relation with the street is conceived of quite
differently: with Stam there is a clear separation between the front and the back of
the dwellings, and practically all the dwellings have an east-west orientation. The
most striking difference, however, is in their floor plans. In the earlier dwellings the
various rooms are more or less the same size and are placed in a random order (fig-
ure 21). With Stam, on the other hand, we see a distinct contrast in size (every room
is designed as much as possible to fit its intended function) and the spatial organiza-
tion is based on considerations of functionality and orientation (figure 22). With Stam,
moreover, the standard of amenities—built-in kitchens and bathrooms and central
heating—is much higher, while an attempt is also made to give each flat a private out-
doors space in the form of a tiny garden or a terrace.
This contrast is indicative of the new direction taken by the housing depart-
ment in Frankfurt after May was appointed in 1925. May and his associates suc-
ceeded in making extensive use of a number of the achievements of the
experiments of the avant-garde, both in the arts and in architecture, and deploying
them to carry out an ambitious socially based construction program. The constant
guiding principle in this process was the concrete link with the actual city of Frank-
50
51
Aerial photograph of the
2
Siedlung of Hellerhof. The

houses on the left were built
around 1901; the long white
blocks, designed by Mart Stam,
date from 1929–1932.
19
20 Layout of Hellerhof.
furt. As a result a sort of dialectics developed between the modern design principles
that served as guidelines and the concrete context in which the work was carried out.
This dialectic explains the profusion of May’s achievement in Frankfurt.67
May’s planning was based on the concept of the Trabantenstadt.68 The Tra-
bantenstadt consists of a core city surrounded by a number of satellites (Trabanten),
at a certain distance from the center but with very good transport connections. To a
certain extent this concept shows the hallmarks of fragmentation and decentraliza-
tion, but it is built according to a distinct organic pattern. The city admittedly is split
into separate parts: the urban tissue does not extend in a continuum but is broken by
green areas, being fragmented as a result (figure 23). The hierarchy between the nu-
cleus of the city and the satellites is preserved, however, and the general structure
of the city is characterized by the fact that the city center also has a central function,
serving as the “nucleus” or “heart” of the city. It contains all the important civic
amenities and the main commercial, administrative, political, and economic activities
Hellerhof, plan of the houses
from 1901.
21
22 Plan and facades of the blocks

designed by Mart Stam.
all take place here. This hierarchical structure with its centralizing tendency is com-
bined with distinct zoning. Without it being explicitly stated in principle at that time
(the Charter of Athens was only drawn up in 1933), the construction of the Siedlun-
gen created a de facto functional segregation. The Siedlungen, after all, consisted pri-
marily of housing.69 Consequently, a clear trend emerged of creating a geographical
separation between housing (in the Siedlungen), work (in the industrial terrains on
the banks of the Main), trade, culture, and education (in the city center), and an in-
frastructure of roads and railways that forms an essential connecting element.70
52
53
On the level of the morphology of the city we come across the symbiosis of
2
an organic design model and an approach that is based on financial and functional

considerations. The aim of the latter was to see that the four functions of housing,
work, trade, and traffic, which were intertwined in the traditional city, would be sep-
arated. The different activities would in this way be prized loose from their original
context and reassembled in a different relation to each other. Montage and organic
design converge in a concept that preserves the hallmarks of hierarchy and central-
ism, while giving them a different filling-in, so that the different parts of the city be-
come independent.
The master plan for development (Flächenverteilungsplan, figure 23) certainly
attests to an attempt to plan Frankfurt as a single whole. It is going too far, then, to
interpret the Siedlungen as Tafuri does as “islands” in an “anti-urban utopia,” float-
ing isolated in space and linked with the city only in a haphazard fashion.71 Analysis
of these plans clearly shows that May’s Frankfurt was planned as a coherent spatial
unity consisting of urban areas with different characteristics.
23 Ernst May and collaborators,

master plan for the development
of the city, 1930.
Axonometric scheme of the
Siedlung of Römerstadt, 1927.
24
The center of the city has the highest density of development and it is sur-
rounded by a belt of nineteenth-century developments that are supplemented and,
where necessary, completed with new Siedlungen. The Siedlung of Bornheimer
Hang, for instance, completes the eastern side of this belt. Architecturally the “out-
skirts” of this Siedlung were given details that are reminiscent of a medieval rampart:
on the ridge of the hill, the east side of which remained undeveloped otherwise, a
continuous development was built with alternately three and four stories. These first
“outskirts,” however, do not constitute the outer boundary of the city; instead they
mark the beginning of the greenbelt that is an integral part of the urban area. Where
an initial development already existed around the radial exit routes, an additional de-
velopment was provided, punctuating the greenbelt with built-up areas. Numerous
smaller projects of Das Neue Frankfurt, including, for instance, the Siedlung of Lin-
denbaum (where Walter Gropius was responsible for the architecture), form part of
this addition to a radial development. Finally, the larger Siedlungen in Westhausen,
Praunheim, and Römerstadt to the west and Riederwald to the east belong to the
outer “ring” of the city, constituting so-called Vorortstrabanten— suburbs which are
related to the city but which also exist as entities in their own right. In the spots
where this ring verges on the Main we find the industrial terrains—that of Fechen-
heim in the east and Höchst in the west. To the south of the Main the ring is broken,
making way for the Stadtswald.
All this means that the city has to be read as a whole and that the greenbelt
should be regarded as a complex of “city parks” rather than as a nonurban area situ-
ated between the nucleus of the city and the Trabanten.72 This reading goes against
the interpretation of the Siedlungen as “islands” that have nothing in common with
the existing city. From the interplay of morphology and architectural formal idiom at
every level, one can clearly see that the aim was to treat the city as a whole and to
54
55
inaugurate the new era by developing a dialectic between a new formal idiom and
2
the existing traditions of an existing city.

As to the tissue characteristics and morphology of the Siedlungen them-
selves, an evolution can be clearly discerned. The layout of the estates that were con-
ceived of before 1929 show plenty of evidence of the influence of garden city
principles. The later developments, however, were based on a strict pattern of open
row housing (Zeilenbau) that is much more rationalist.
The Siedlung of Römerstadt (1927–1929) is the most famous and convincing
example of May’s city planning (figure 24). The basic idea behind Römerstadt was to
make good use of the qualities of the landscape: the development follows the con-
tours of the hillside in the form of terraces while it is related to the valley of the Nidda
by viewpoints on the bastions that punctuate the retaining wall between the Sied-
lung and the valley (figure 25). There is an obvious hierarchy with a main street (the
Hadrianstrasse), residential streets, and paths inside the blocks, a hierarchy that the
architecture accentuates. The difference between the public front and the private
back of the dwellings is strikingly emphasized by the neat design of the entrance sec-
tion on the front (with a canopy over the front door and a design that prevents
passersby from peering in). The blocks, however, are no longer closed like the
nineteenth-century type. By staggering the long straight streets at the height of the
bastions, long monotonous sightlines are avoided (figure 26). All of these elements
bear the clear imprint of Unwin’s design principles.73
25 Aerial photograph of Römerstadt.

(From Christoph Mohr and
Michael Müller, Funktionalität
und Moderne, p. 135.)
Axonometry of a bastion in
Römerstadt.
(From D. W. Dreysse,
May-Siedlungen, p. 13.)
26
There are, however, a number of important new features: the brilliant interplay
of curved and rectangular shapes, both in the layout of the streets and in the relating
architectural elements: rounded ends for the buildings at the height of the bastions
in the western part—the part with the straight streets (figure 27); right-angled ends
for the buildings in the corresponding eastern part; rounded ends, rounded windows,
and quarter-circle transitions to overcome the differences in height in the northern
block of the Hadrianstrasse, the block that lies opposite the exits of the straight
streets; right angles and rectangular windows for the southern block that overlooks
the junctions of the curved streets and the Hadrianstrasse; the taut architectural
design; the irregular street profile (no front gardens on the southern row of houses,
while the northern ones do have them). The undulating course of the Hadrianstrasse,
which is highlighted by the curved shapes of the blocks on the inside of the
curves, makes plain its function as a traffic artery,74 suggesting an image of dynamic
movement.
All told, Römerstadt is a very successful combination of a number of earlier, or-
ganic design principles with the sensation of simultaneity and movement created by
the dynamism of a new architectural idiom.
Another successful example of the interplay between old and new morpho-
logical principles is Riedhof (1927 and the following years). The principle of Zeilen-
bau, the open row layout, was exploited here for the first time (figure 28). The open
row provided a radical alternative to the closed block of nineteenth-century architec-
ture with its rectangular construction. The closed block differentiates sharply be-
tween front and back, but in the view of the avant-garde architects the disadvantages
of this layout are striking: an unattractive orientation for part of the buildings, poor
lighting and ventilation, and awkward treatment of the corners. The idea was to over-
come the drawbacks of the closed block by opening it up and by having the rows of
56
57
houses no longer built face to face, but giving them all an identical orientation, so that
2
front and back facades look out on each other. The main argument for this Zeilenbau

is its attractive orientation and the possibility of creating identical dwellings every-
where, this implying not only that money was saved but also that each individual was
treated equally.
Open row design is nonhierarchical; it is not centralized but based on seriality,
with identical rows of identical housing units, reminding one of the factory line. In
Riedhof an extremely interesting modification of this principle was applied. The
Zeilenbau, which theoretically can be extended to infinity, is locked into highly artic-
ulated boundaries. At the eastern end of every row there is a hook-shaped enclosure,
which in an initial movement increases the space between the rows, forming a court-
27 Public space on a bastion in

Römerstadt, looking into the
underpass leading to a footpath.
Siedlung of Riedhof.
28
yard, while with a second movement it creates an abrupt reduction of the space, re-
sulting in a narrowing that coincides with the junction of all the residential streets
with the Stresemannallee (the former Wilhelmstrasse) that constitutes the eastern
boundary of the housing complex. Alongside the Stresemannallee, the final wings of
the hooks form a long, high, unbroken, and straight urban elevation that gives access
at regular intervals to the residential streets.
On the west side each of the residential streets leads to the Heimatring (fig-
ure 29). These junctions also are given an architectural accent—every row is pro-
longed over the Heimatring and ends with a wing at right angles to the residential
street, forming the urban elevation of the Heimatring. These striking ends mean that
a clearly defined boundary is set up in this Siedlung between what is “inside” the
Siedlung and what is “outside.” In the Siedlung itself, however, there is no hierarchy,
and, unlike Römerstadt, it has no definite center. This is partly due to the nonhierar-
chical character of the Zeilenbau principle and partly to the lack of community facili-
ties such as those that contribute to the centralizing character of the Hadrianstrasse
in Römerstadt (shops, catering facilities, and the school).
The Zeilenbau principle was modified not only by these very definite bound-
aries but also by the subtle way that every street is given its own character. It is true
58
59
that the architecture of all the rows is very regular, but every street is given a specific
2
character by the planting of a particular sort of tree—also the source of the street

names, such as Unter den Kastanien and Unter den Akazien. In addition to this, the
street areas are differentiated in length, reinforcing their individual character still
more.
In the last Siedlung that May was responsible for, Westhausen (1929 –1931),
the Zeilenbau principle is applied in a completely orthodox fashion: all the rows of
dwellings have exactly the same orientation—the low-rise rows are laid out in a
north-south direction, their facades facing east and west, while the taller blocks of
the gallery flats run east-west (figure 30). The low-rise buildings are built at right an-
gles to the street and access to the dwellings is via a pedestrian path. A row of seven
dwellings is bounded on the one hand by the street and on the other by a strip of
grass that runs parallel to the street and which the path also leads to (figures 31 and
32). On one side of the path, one has access to the row of dwellings and on the other
side to the gardens that belong to the upper flats. In Westhausen, too, some of the
outskirts of the Siedlung are given special treatment, though this is less spectacular
than in Riedhof. A special feature of the northern edge of the estate is the slight stag-
gering in the row, while on the western edge where the high blocks designed by
Kramer (figure 33) are situated, the orientation of the rows is given a quarter-turn.
On the whole the morphology of Westhausen, unlike that of Römerstadt, does
not take advantage of the landscape. There is no visual relation with the valley of the
Nidda, which is in the immediate vicinity of the estate. The head elevations of
Kramer’s blocks that look out on it are almost blind. In the Niddatal there is a large
swath of allotments and footpaths that forms a buffer between the Siedlung and the
29 Riedhof, Heimatring.
Siedlung of Westhausen.
30
Scheme of the organization of

open spaces in Westhausen:
streets, pedestrian paths, grass
strips, and private gardens.
(From D. W. Dreysse,
May-Siedlungen, p. 20.)
31
core of the city. However, one can get to it from Westhausen only by crossing the
busy Ludwig Landmannstrasse. The structure of Westhausen is definitely nonhier-
archical. It has no definite center and there is only one place with a striking individual
design—the communal laundry with its tall chimney, situated in the southwest cor-
ner of the Siedlung.75
The evolution from a garden city concept to open row development occurred
largely because of growing problems with financing these housing schemes; at the
same time it also fitted in with an increasingly radical tendency toward rationaliza-
tion.76 The earlier Siedlungen, including Römerstadt and Riedhof, were distinguished
by the highly differentiated design of the urban spaces that was the result of using
divergent types of dwelling and by applying architectural accents in appropriate
places. After 1929 there is an unmistakable tendency toward great simplicity: there
60
61
Westhausen, pedestrian path
2
giving access to dwellings

and gardens.
32
are very few different types of dwelling in Westhausen (figures 34 and 35) and the
differentiation of the urban spaces is carried out with a much more limited range of
devices (there are no more architectural accents in the form of special corners, gate-
houses, underpasses, and so on).
Even so, many of the most distinctive features of the achievements of Das
Neue Frankfurt continue to be present in Westhausen: the neat, imaginative layout
of the public spaces (the communal strips of grass and the sequence formed by foot-
path, grass strips, and private gardens); the feeling for architectural detail (the pro-
tection against curious passersby that is provided by raising the ground-floor story,
the provision of tiny front gardens, the entrances with canopies over them); the high
standard of amenities and—considering the spatial limitations—the outstanding or-
ganization of the floor plans of the dwellings.77 The systematic seriality punctuated
by the variety in the character of public areas creates a neutrality and homogeneity
that forms the basis for the equality, freedom, and mobility of the residents. Life here
is anonymous, but space is provided for the individual needs of every resident. The
morphology of the Siedlung is based on the extreme rationalism of the Zeilenbau
principle, but this is coupled with the great care that is given to the design of the open
Blocks in Westhausen designed
by Ferdinand Kramer. View of the
north facade.
33
spaces. With simple means a differentiation is accomplished between the different

parts of the public areas. The urban spaces, such as streets, paths, public lawns, are
given quality by the interplay of rhythm and proportion; the sizes of these spaces (the
distance between the rows, the length of rows and blocks, the width of the paths,
streets, and strips of grass) are neither random nor minimal. Rather, their effect is
one of well-proportioned spaces with a high level of functionality. The transition be-
tween private, semiprivate, and public areas is skillfully achieved with the tiny front
gardens, low hedges, and light metal constructions that serve as stakes for fasten-
ing washing lines. This attention to detail ensures that the criterion of cost-
effectiveness does not mean that all nonessential features are given short shrift.
62
63
The result is a Siedlung in which all the elements are present that will later
2
lead to a trivializing and instrumentalizing of the functionalist principles, but still one

where the freshness of the ideas and the enthusiasm of the designers strikes one
immediately. The repetition of the same units over and over leads to a monotony
here that is not cheerless, but makes for an atmosphere of solidarity.78 The extreme
simplicity and asceticism of the design were less a result of the need to keep costs
down than of a desire to invite the residents to participate in a new and contempo-
rary style of living.
To sum up, the architecture of Das Neue Frankfurt is calm and not at all ex-
treme. The contrast with tradition is striking but not totally pervasive. The rejection
Plans of the low-rise buildings

in Westhausen: one apartment
on the first floor and one on
the second.
34
35 Plan of a typical apartment

in the four-story blocks
designed by Ferdinand Kramer.
of all forms of ornament and the use of flat roofs and large balconies point to a de-
liberate tendency toward innovation, as do the employment of techniques of indus-
trial construction, the functional floor plans, the high quality of the fittings, and even
the choice of colors.
Even so, tradition continues to make itself felt under the surface. This can be
seen in the endeavor to create a calm and orderly urban image,79 in the stressing of
symmetry and harmony, and in the frequently organic layout of the Siedlungen. The
volumes of the dwellings are closed and are clearly demarcated, while the window
openings in general are somewhat on the small side and are distributed in a balanced
fashion along the facade. The design of the urban image is based on an alternation
of seriality and symmetry. The housing units are often asymmetrical in their con-
struction, but the fact that they alternately mirror each other means that a general
picture is created in which symmetry and axiality are dominant.
Generally speaking, the architecture of Das Neue Frankfurt is not really radical
in terms of its design. It lacks a number of salient features that are fundamental to
the work of other avant-garde architects. Flexibility, mobility, and dynamism, for in-
stance—essential elements in Giedion’s concept of modern architecture—do not
predominate there. As for Le Corbusier’s five points (pilotis, fenêtres en longueur,
plan libre, façade libre, and toit-jardin),80 only the last element was realized in Frank-
furt at all extensively. Pilotis —an anti-organic feature par excellence because they re-
duce the relation between the building and the ground to a minimum—were seldom
if ever used; the fenêtres en longueur hardly ever occur in dwellings in the Siedlun-
gen, Riedhof being an exception in this respect. (They occur a little more frequently
in the larger projects such as the school in Römerstadt.) Nor were the floor plans of
May’s houses based on a plan libre: the articulation of the space was functional and
supporting walls were used; and the facade designs were not “free” but were de-
cided on the basis of internal requirements and the principles of calm and symmetry.
A comparison between a space-time construction by van Doesburg (figure
36)—which is a perfect example of Giedion’s notion of Durchdringung —and a
colored-in isometric projection by Hans Leistikow, which presented the color
scheme for the Siedlung of Praunheim (figure 37), leads to similar conclusions. Al-
ready in the coloring one can identify a number of striking differences.81 With van
Doesburg, the color is applied to distinguish the different planes as much as possible
from each other in order to “dissolve” the cube; it is the “planes floating in space”
that are stressed, not the volume that they combine to create. In the isometric pro-
jection for Praunheim, on the other hand, the effect of the color, generally speaking,
is not used to “dissolve” the volumes: the colors continue round the corner, and the
differences are decided on the basis of the direction from which the plane is usually
observed (in other words, white is used for the surfaces that face “outward” and red
and blue for those that face “toward the inside”: from a distance, therefore, it is the
white that is dominant in the Siedlung). With van Doesburg, “inside” and “outside”
64
65
Theo van Doesburg, Space-Time
2
Construction III, 1923.

36
37 Hans Leistikow, color scheme

for Praunheim.
(Photo: Institut für
Stadtgeschichte der Stadt
Frankfurt am Main.)
interpenetrate and the boundary is not clearly drawn. In Praunheim, on the other
hand, “inside” and “outside” are very clearly defined.
The formal idiom of the architecture of Das Neue Frankfurt, then, cannot be
described as one of the most radical examples of avant-garde design principles.82
Perhaps this is also the reason why Giedion displayed relatively little interest in Frank-
furt.83 What is built here does not reach the same level of innovation that Giedion de-
tected, for instance, in Le Corbusier’s work in Pessac.84 Even so, taken as a whole,
Das Neue Frankfurt displays a passionate commitment in its treatment of the city
and of urban space. It is not for any unique, dazzling architectural feats that we re-
member it. Its qualities lie rather in the fact that it is an example of how to design a
correct and attractive architecture on a larger scale—that of the urban space, the
public domain. The Siedlungen of Frankfurt form a residential environment in which
variety is combined with neutrality, where there is room for both anonymity and in-
volvement, where one can find a whole range of types of both homes and public
spaces, and where good connections with the city center are combined with the
availability of parks and sports facilities. As far as these qualities are concerned, the
achievements of Das Neue Frankfurt can still be described as exemplary.
Das Neue Frankfurt as Avant-Garde

The magazine Das Neue Frankfurt clearly regarded itself as participating in the inter-
national avant-garde. One can deduce this not just from its rhetoric but also from the
list of its (occasional) contributors that included famous names such as El Lissitzky,
Willi Baumeister, Sigfried Giedion, Adolf Behne, Hans Schmidt, Marcel Breuer, Jo-
hannes Itten, Oskar Schlemmer, and others. Typical is the fact that the dadaist Kurt
Schwitters was invited to give a performance in Frankfurt during the second CIAM
congress in 1929.85
The international character of the magazine was stressed right from the start.
As May put it:
Design in the city of Frankfurt am Main will be the main object of our
study. That does not mean, however, that we will limit our circle of con-
tributors to this city. On the contrary, our aim is to make our pages avail-
able to important figures from all parts of our country and from abroad
who have similar aims in both theory and practice. They will serve as a
stimulus, supplementing what we create here.86
This explicitly stated affinity with the international avant-garde does not alter the fact
that what was at stake in Das Neue Frankfurt was quite specific. Unlike visual artists
or theater directors, this group had to deal with a sociopolitical and physical context
that limited their freedom of movement. Both the requirements and expectations of
their client—the city government—and the physical presence of the existing city of
66
67
Frankfurt were factors that could not be ignored. The parameters within which they
2
had to operate were fairly narrow.

It goes without saying that Das Neue Frankfurt cannot be regarded as an
avant-garde group that advocated destruction. The rejection of tradition and the cult
of the new were definitely elements in the Frankfurt experience, but their position
lacked the radicalism of a genuinely extremist movement. May explains the group’s
relation to tradition:
We wish to be proud of the traditions of our beautiful city on the River

Main, of the way that it has succeeded in flourishing through times both
hard and prosperous. We refuse, however, to pay homage to those tra-
ditions by imitating their achievements. On the contrary, we want to re-
veal these traditions in the manner they deserve, by giving a decisive
form to the new, standing with both feet in the contemporary world and
basing our conclusions on the actual conditions of contemporary life.87
If one juxtaposes this passage with the Futurist Manifesto of 1909, for instance, with
its appeal to destroy museums, libraries, and academies, it is clear that May’s atti-
tude was much more ambivalent than that of Marinetti. In retrospect, it is this am-
bivalence that makes the achievements of Frankfurt so exceptional. It contains a
promise of emancipation and equality transformed into an architectural language that
is light, open, and neutral. At the same time, the memory of the city was not
erased—the existing city with its historical strata is not denied or encroached on, but
serves rather as a basis for the new additions. This results in the old and new com-
plementing each other—something that would have been impossible with an avant-
garde logic adhered to at all cost.
Another feature that is lacking in Frankfurt is the radicalization of modernity as
a “culture of crisis.” The emphasis was clearly on the task of building as much as
possible within the shortest time possible. The operational concept of modernity for
May and his collaborators thus was programmatic rather than transitory. It is hard to
find any trace in Das Neue Frankfurt of what Calinescu describes as “an inbuilt ten-
dency for the avant-garde eventually to destroy itself”—unless, of course, one
would judge their somewhat naive assessment of the political conditions as such,
which I think would be rather unfair. One could state that the Frankfurt avant-garde
did in fact include a notion of “the sublation of art into the praxis of life” in its pro-
gram, in the sense that it was their deliberate intention that their experiments in the
arts and architecture would bear fruit in designing the surroundings of everyday life
and in enhancing the dwelling culture of the population. In their eyes, however, the
“transformation of art in the practice of life” did not imply any undermining of the ra-
tional organization of society—as was the intention of dadaism or surrealism. In Das
Neue Frankfurt there was no opposition toward the instrumental rationality of the so-
cial order. On the contrary, their advocating industrialization, standardization, and ra-
tionalization was entirely in keeping with a societal modernization implemented ac-
cording to the norms of an instrumental rationality.
The efforts of May and his associates were nevertheless not meant to support
a development along capitalist lines. It is clear that it was their intention to take the
rationality and functionality of the social order a stage further with the eventual aim
of transcending the existing bourgeois social order.88 Like Giedion, they were con-
vinced that architecture could play a vital role in this social renewal, because it has
the capacity to restore the broken relationship between subjective culture and ob-
jective culture.89 In their view the daily presence of an efficient and functional archi-
tecture would stimulate individuals to respond in a less alienated fashion to the
efficiency and functionality that are the hallmarks of objective culture.90
The group of Das Neue Frankfurt saw it as its task to create a new culture in
the broadest sense of the word, one that would cover all aspects of social and per-
sonal life. They never actually succeeded in fulfilling what they set out to do, because
the decisive societal changes they were preparing never did occur. This was partly
due to political and social developments which took a regressive turn and made an
end to opportunities that for a short period were actually there.
These opportunities were the result of a particular phase of development in
German capitalism. After the troubled and turbulent years immediately after the First
World War, a period of stability was inaugurated in 1923 with the Weimar Republic
pursuing social democratic policies. One aspect of this policy of stabilizing the eco-
nomic and social situation was the introduction of the Hauszinsteuer, a tax on rents
that was imposed on owners of prewar real estate; due to rising inflation this tax
yielded a sum many times the original rental. A considerable part of the revenues
from this tax was spent on public housing. Nevertheless, the unprecedented rise in
construction costs in combination with soaring interest rates meant that even before
the economic crisis of 1929, the housing program in Frankfurt had to come under re-
view. The rents on new housing that were calculated on the basis of their cost price
and on the level of interest rates had simply risen beyond the means of the working
classes to afford.91 After 1929 the flow of funds from the state for public housing was
increasingly blocked. Not surprisingly, May’s departure for the Soviet Union in the au-
tumn of 1930 coincided with the end of large-scale building operations in Frankfurt.
These circumstances have led a number of authors to interpret Das Neue
Frankfurt as a step toward imposing increasing restraints and norms on social life
rather than as an authentic contribution to the liberation of dwelling.92 Juan
Rodríguez-Lores and G. Uhlig go into some detail on this question. They make par-
ticular reference to the paradoxical relation between an originally leftist program of
reforms and the technological battery of instruments that largely originated in, and
responded to, the logic of capitalism. The result of a reformist strategy such as
May’s, they argue, was for the working class to become better integrated in bour-
geois capitalist society, even though its original intention had been to combat this
form of social organization and to reform it fundamentally. To the extent that the un-
68
69
“A homogeneous
2
metropolitan public.”

(From Christoph Mohr and
Michael Müller, Funktionalität
und Moderne, p. 189.)
38
derlying aim of realizing a classless society was not achieved, the implicit promises
of modern architecture also turned out to be empty ones. The expectations aroused
were only fulfilled in the realm of aesthetics; at the level of praxis they remained
frustrated.93
Viewed in retrospect, this criticism is to a certain extent correct. The activists
of Das Neue Frankfurt assumed somewhat naively that transformations in the realm
of architecture would be sufficient in themselves to spark the process of a more gen-
eral reform of society. As we know now, that hope was in vain. That the project failed
to be completed, however, was not only due to the unfavorable turn of political and
economic events, but also to misjudgments and false expectations of it initiators. It
is doubtful, for instance, whether the radical ambition to design the city according to
the needs of the collective could have any real meaning in a context where the cap-
italist system of ownership was left basically untouched. Uhlig and Rodriguez concur
with Tafuri in arguing that the construction of the Siedlungen attested to a strategy
of evasion: they certainly did not solve the real problems of the city that resulted from
the increasing commercialization of the center.
Other contradictions are also inherent in the discourse of Das Neue Frankfurt.
It was assumed, for instance, that there was such a thing as a homogeneous met-
ropolitan public (or that an entity like this would emerge in the future) and that this
entity would be capable of responding in an appropriate fashion to the new architec-
ture (figure 38). This assumption in fact is not compatible with the importance at-
tached to qualities such as freedom, mobility, and transitoriness. When one aims to
promote the freedom of every individual and to create as great a potential for change
as possible, it is hardly logical to assume that all these individuals will make the same
choices and will change in the same fashion. This, however, was the expectation that
lay behind the supposedly homogeneous character of the metropolitan public.
May’s treatment of the whole culture as an entity that, as it were, ceaselessly
gives form to social reality should therefore be questioned. May’s concept does not
take into account contradictory tendencies and conflicts in interest that are inevitable
in a modern society. His pastoral ideas cannot cope with contradictions that are in-
herent to capitalist development. He was therefore not capable of formulating an ad-
equate reaction when economic imperatives became an obstacle for the realization
of his cultural program.
But in the end these critical comments do not alter the fact that something of
great importance was achieved in Frankfurt. Starting out from a pastoral and pro-
grammatic concept of modernity, a large number of interventions were actually com-
pleted that have enriched the city permanently. The unidimensionality and simplicity
that were operative at a theoretical level did not extend to the built realizations. In
fact, the confrontation between the new architecture and the existing city gave rise
to an ambivalence which contained a critical utopian moment—the promise of eman-
cipation and liberation—as well as a subtle respect for the existing city as a sediment
for people’s memories and as an indispensable substratum for the future. It is pre-
cisely for this reason that estates such as Westhausen, Römerstadt, and Riedhof
form significant contributions not only to the history of Frankfurt but to that of archi-
tecture and urbanism as a whole.
70
71

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I have attempted

Constructing the Modern Movement

Constructing the Modern Movement

Constructing the Modern Movement

Sigfried Giedion: A Programmatic View of Modernity

New Experiences and a New Outlook

Constructing the Modern Movement

Constructing the Modern Movement

Robert Delaunay, Tour Eiffel, 1909–1910.

Le Corbusier, Villa on the Sea,

Le Corbusier, Cook House,

Constructing the Modern Movement

It seems doubtful whether the limited concept of “architecture” will in-

Nowhere else in Giedion’s work is this concept of deliberate transitoriness so

Constructing the Modern Movement

Petroleum tank, concrete bridge,

Space, Time and Architecture: The Canon of Modern Architecture

Constructing the Modern Movement

Constructing the Modern Movement

From Avant-Garde to Canonization

Constructing the Modern Movement

Das Neue Frankfurt: The Search for a Unified Culture

Map of present-day Frankfurt

Constructing the Modern Movement

Ideas and Intentions

To bring about a breakthrough in this new culture, deliberate steps had to be

The achievements of the twentieth century that surround our everyday

Constructing the Modern Movement

Constructing the Modern Movement

Let us suppose we put this question to the army of the underprivileged,

The famous Frankfurt kitchen,

The Dialectics between an Avant-Garde and a City

Constructing the Modern Movement

22 Plan and facades of the blocks

Constructing the Modern Movement

23 Ernst May and collaborators,

Constructing the Modern Movement

25 Aerial photograph of Römerstadt.

Constructing the Modern Movement

27 Public space on a bastion in

Constructing the Modern Movement

Scheme of the organization of

Constructing the Modern Movement

spaces. With simple means a differentiation is accomplished between the different

Constructing the Modern Movement

Plans of the low-rise buildings

35 Plan of a typical apartment

Constructing the Modern Movement

37 Hans Leistikow, color scheme

Das Neue Frankfurt as Avant-Garde

Constructing the Modern Movement

We wish to be proud of the traditions of our beautiful city on the River

Constructing the Modern Movement

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